MODERN PAINTERS DAILY: Framing contemporary art & culture

This weeks Modern Painters blog post if brought to you by the artist Detlef E. Aderhold. Enjoy!

An installation view at Galerie im Zieglerhof in Lueneburg, Germany, May 2014

If affective states can be said to be the unifying conceptual principle in Aderhold’s practice then the stain is the formal element that sutures these seen and felt encounter. These stains, amorphous bodies, are of- ten made with coffee, or heavily thinned paint. Whatever we might read into these works, whether repre- sentational or wholly non objective ( and despite first glances, this is rare in Aderhold’s work) a sense of the psyche always seem to bubbles up through their surfaces. The psyche, the internal drama played out against diffuse rituals, becomes manifest in Aderhold’s work, it seems, not as a precondition but rather, as a series of connections and resonances that emerge out of their production. Aderhold shows us that painting-one among many of such “diffuse rituals” — is still a locale, a theatre, in which surprise, pain and delight can occur.

— Eric Sutphin, critic and curator, 2014

Aderhold’s work seeks an encounter that is based on visceral and sensitive understanding — preceding judgment and preconceptions. This well-orchestrated visual chaos, of seemingly no end or real beginning except from the boundaries of the canvas, can be understood as a metonym for what Adernold’s work touches upon — affects — and is further emphasized by the work’s title. Null Komma Null (2011) trans- lates as “zero point zero” and emphasizes Adehrold’s conscious decision to deprive his viewers of any linguistic and therefore logical or intellectual point of reference.

— Sabrina Mandanici. writer, 2014

Null Komma Null, 2011

While creating these paintings, two processes are particularly important to me. On the one hand, there is the rapid, dynamic, and expressive part characterized by a largely unrestrained and spontaneous handling of paint and canvas. After preparing the ground of the painting with coffee or water,, the colors selected beforehand are dripped, flung, and scattered wet-on-wet across the canvas. This action-based element develops on the basis of preliminary plans and mental images recorded in sketches. These form a rough framework, an idea, that is to be realized. I often incorporate impressions, or frottage drawings directly on to the canvas. These drawn elements are made with everyday objects – bicycle chains, shards of glass, Lego pieces, or model-train tracks – or natural materials – sand, pine needles, and stones – fur- ther develop the composition. I lay these on the wet ground (coffee, etc.) of the canvas before introducing the selected colors.. These objects and materials leave their trace or impression in the wet ground and sometimes yield additional structures that I can work from.

The results of the initial process are taken up and further developed. This phase is more contem- plative and calm. Here, I try to immerse myself in the painting, to open myself to the painting, pulling out small details that reveal themselves through my contemplation of the surface. What is important to me is spontaneity and the question of how structures form. Ideally, the paintings are a site of discovery for both myself and the viewer .

In partnership with Gilbert Salinas we are pleased to offer a slideshow of his work . Please enjoy!

Glaciation, 2015, Mixed media on paper, 42 x56 inches

My central theme is based in investigating the variety of ways to address the organic forms of nature and its constant evolution through art. I am also interested in the aging surfaces of the planet and in the traces that time bares on earth.

In my work I use the mysteriousness of the organic forms as reference to explore and experiment with organic patterns which are created, among other things, by manipulating the consistency of the paint as it flows thru different surfaces. I relate the accidental spontaneity of the works, with the spontaneity and unpredictability of our lives.

As a continuity of my investigation I also focus on the conscience, instincts and complexity of the human being. I explore those processes and phenomenon’s that go thru our minds in order to understand our reality. I intend to project these introspective stages and energies on the canvas.

In partnership with Kiyomi Baird we are pleased to offer a slideshow of her work . Please enjoy!

Convergence, 2012

I had the opportunity to move to Tokyo. I experienced a deep resonance with the Japanese culture and aesthetics. I realized that aspects of myself are essentially Japanese. I believe this cultural duality, the Eastern search inward toward stillness and the Western drive outward through exploration, is the source of a dynamic tension I feel in my life and express in my art.

In my digital work I want to evoke a feeling of timeless space from which images can shimmer in the viewer’s imagination. These images seem to converge or pull apart expanding like the waves of breath, e.g., Convergence, Unbinding, Dis-illusion, and only in Patar is there a found peace or stillness and in Cosmic Blush, a sense of wonder.

I create abstract spaces and forms that explore the movements of the cosmos and the human spirit. Both these dimensions, physical and spiritual, are infused with the same universal life force which expresses itself through a variety of elemental shapes. I try to show how these elements move in time and space toward balance and spiritual harmony. I hope my work can serve as portals to the universe and sanctuaries of the soul for experiencing the oneness of both.

In partnership with the artist we are pleased to offer a slideshow of works by the artist Wayne Charles Roth.

Wayne Charles Roth, Somewhere Else, 2014

The artist states:

I do not look at myself as a “digital artist,” I look at myself as an artist that uses the latest tools to express my vision and create art for the 21st-century. I have been creating digital fine art for roughly seven years but I have always earned a living as a visual artist. I have worked professionally as a designer, photographer, illustrator and college professor.

I became involved in computers and technology in the late 90’s. I used to work in oils and acrylic but felt that today’s technology allowed me to create art that was a truer reflection of the times we live in. Technology and computers are an integral part of our everyday lives; it seemed natural to use these tools to create art that speaks to how we live today.

Regardless of what tools I use, I have always started with a concept or vision in mind. The differences between doing an oil painting and a digital painting are not that great. With my digital work there is still a lot of drawing involved–I am just using a stylus instead of a pencil. When I painted in oils I used to use a lot of glazes to build up depth and color. With today’s software I still use the same slow process of multiple layers which are built up to achieve depth and power. I think the main differences are in two areas. My digital work takes 2-3 times longer than an oil painting because the work is so much more complex, and I have to go through additional costly steps to produce the final piece.

My objective is to create compelling and unique work. I want my viewers to be surprised and dazzled by what they are experiencing. By using today’s technology I am better able to create art that reflects how we live today and speaks to a deeper meaning about how technology integrates into every aspect of our lives.

Producing the final art

I am currently producing my finished art in two ways. The first is a digital chromogenic color print on a special metallic paper. The final digital file that I have created is expose to light-sensitive material to produce a latent image that is then developed using conventional silver based photographic chemicals. After I have approved the final art it is mounted to the back of clear acrylic. It is then mounted to an archival acid free board. It is then joined to an acrylic framing system to complete the art. The printing process, metallic paper and polished acrylic provides the final art with depth and color that is very compelling.

The second way I produce my art is with a custom LED back-lit frame system. This works very well with large pieces and is custom built for each piece. The art itself is produced on a new synthetic material that lets light pass through, while retaining the dense appearance of canvas. It is a beautiful effect and shows off the power and detail in my work.

Peter Robertson Gallery is pleased to present “in the we manner,” an exhibition of new painting and sculpture by Clay Ellis.

According to the artist:

“Reviewing work pulled out of storage is an unsettling experience. It is not my lingering on the reasons for the work being in storage that I find unnerving, but rather seeing it as an image of an earlier self. The potency of these encounters prompted this project which has occupied me for some time.

The exhibition “in the we manner” represents a mix of images, patterns, and forms derived from work, which for some reason, I have safeguarded. The pieces in the exhibition are perhaps more of a collaboration between present and past, than a remix.”

Internationally acclaimed artist, Kathryn Hart, will be featured for the second consecutive year at the Ateneo de Madrid (Museo del Prado), from October 1st to October 15th, and will be debuted in Paris at the Galerie Etienne de Causans, on view from October 7th to October 11. Works will be selected from her current series, “Unapologetic Presence.” The press release explains,

“Her mixed media works seep with raw, personal history, exuding a sense of long, longing and an ultimate conviction in renewal. New York City art critics have described her work as, ‘mired in matter, their power emanating from their very physical palpability and the artist’s unique way of imbuing the actual with its own transcendent mystery. Humanoid-like beings are often sculpted and sutured into a surface smeared with sensuously tactile impasto, clotted paint and found objects in a manner at once funky and oddly elegant to reflect the human condition, all of its crags and crevices, what we want others to see and what we hide.’”

In partnership with GALERIE KLÜSER we are pleased to offer a slideshow of works that the gallery will be presenting at this year’s Art Basel. The gallery explains:

Intensive co-operations with artists like Joseph Beuys, Andy Warhol, Tony Cragg and Sean Scully have determined the gallery profile as much as numerous exhibitions with Christian Boltanski, Mimmo Paladino, Julião Sarmento, Donald Baechler, Jan Fabre, Olaf Metzel and others. One man shows featured the oeuvre of more classic artists such as E.W. Nay and Francis Picabia, as well as the following generation i.e. Gilbert+George, Cindy Sherman and Stephan Balkenhol.

Since the opening of our additional exhibition space Galerie Klüser 2 in 2002 there has also been a rising focus on younger artists like Jorinde Voigt, Isca Greenfield- Sanders, Conrad Shawcross and David Godbold, who could be introduced successfully in one man shows, others debuted in group- or thematic exhibitions.

Since more than 30 years, we are publishing multiples and editions of internationally reknown artists. Numerous publications have been produced often in co-operation with museums.

In partnership with the gallery, we are pleased to offer a slideshow of works from Barry Frydlender’s most recent body of work Yaffo – Tel Aviv on view at Andrea Meislin Gallery through June 21, 2014. See the complete press release HERE.

Frydlender’s Yaffo – Tel Aviv features 8 large-scale color photographs created between 1998 and 2014 that illustrate the shifting and merging skylines of the cities of Jaffa and Tel Aviv. The exhibition marks Frydlender’s first exclusive look at the Israeli skyline since his solo-exhibition at MoMA in 2007.

Compressing 16 years into 6 brand new photographs seems a feat impossible to accomplish; except for Frydlender’s method.

Digitally stitching together moments and events from the view of his home-studio window with his camera lens, Frydlender constructs each image from hundreds of individual frames, which, ultimately, result in cinemascopic panoramas (a process measured in multiples of months).

Frydlender builds the pictures as the Israelis build their skyscrapers, to an extraordinary and thought-provoking end.

Until 4 May Gazelli Art House presents a diverse outlook on the crossover between classical fine art and new media. Red Tape features new works by New York-based artist Stanley Casselman (America) and London-based artist Hyo Myoung Kim (South Korea), drawing on the cyclical nature of creative input and output. By referencing the predecessors, the exhibition questions how far can contemporary techniques overtake and outweigh that which was created and explored in the past – is it all a matter of conceptual strength backing a familiar image, or do we require a complete break away from tradition and the mundane?